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...highlands of South Viet Nam, the sun rises not blood red as on the coastal plains but molten white as it burns its way through the gray mists that linger in the valleys and shroud the jagged, jungled mountains. It is a land of long rains, chill winds and primitive Montagnard* tribesmen, who have coexisted comfortably with the elements for centuries. But the Montagnards have not been able to cope with the Viet Nam War. No matter how it ends or when, it will count the friendly, dark-skinned hill people among its most tragic victims. A cease-fire would...

Author: /time Magazine | Title: VIET NAM: Forgotten Victims of the War | 12/4/1972 | See Source »

...shroud of sanctimony is so oppressive that the movie's random moments of lightheartedness make one almost grovel with relief. The one good musical number portrays the selection of an author for the Declaration of Independence, with each member of the selection committee fobbing off the assignment on another, and all joining in a jaunty chorus that parodies, fleetingly, the idea that any of them should be singing or dancing at all. Sherman Edwards' songs are usually reserved for important occasions like a speech on the shared immorality of slavery, or the apparently telepathic communications between John Adams...

Author: /time Magazine | Title: Cinema: Cherry Bomb | 12/4/1972 | See Source »

...been cared for in a pagoda in Phu Due. There are no beds and few mats; most patients lie on the dirt floor or on bundles of rags. A child died of lockjaw because of a shortage of tetanus serum. Her body lies twisted like a snake under a shroud of rags. Two feet away an old woman is dying of malnutrition. She had stayed in her bunker for well over a month, switching from boiled rice to rice soup as her reserves dwindled, then to anything edible. She is the color of fine porcelain, and the flies...

Author: /time Magazine | Title: THE WAR: A Record of Sheer Endurance | 6/26/1972 | See Source »

...pose is an amalgam of Buonarotti's Bound Slave and the Pietá in the Florence cathedral; the sense of the figure emerging like a captive from its shroud of bronze is profoundly Michelangelesque. Above all, there is the sense of intellectual energy, of a powerful mind striking to the core of problems which it alone could formulate. Perhaps Matisse was not as "radical" a sculptor as he was a painter. His sculpture was avowedly traditional; it addressed itself, as his paintings did, to the classic themes of the erect or reclining figure, the portrait and the nude...

Author: /time Magazine | Title: Art: Matisse: A Strange, Healing Calm | 3/6/1972 | See Source »

Fake Dialogue. Until now the film has been a vigorous and accomplished adventure. But during the journey, allegorical trappings descend like a shroud, suffocating much of the movie's energy and momentum. Uraz and the servant meet an outcast woman named Zereh (Leigh Taylor-Young), who promptly turns the men against each other. She even tries to get the servant to murder Uraz so that they may steal his fine white horse. Delirious with pain from his broken leg, Uraz is beleaguered by the elements, his traveling companions, and his own sense of shame. He retaliates by tempting Zereh...

Author: /time Magazine | Title: Cinema: Allegories and Icebergs | 8/16/1971 | See Source »

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